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Between Digital Flux & Painted Matter
Vizard’s practice draws from post-digital painting, abstraction and image deconstruction,
yet resists clear definition. Influences include the stark restraint of post-minimalism and the layered logic of archival research. Digital tools aren’t a gesture to tech, but a way to speak the language of now—image saturation, superposition and the ghost of memory in reproduction.
PRESENTLY OVERWRITING PASTISMS, 2016
Portal Suite series (1 of 1)
Lambda® Output on Kodak® Metallic Substrate
10 ½ × 10 ½ in / 26.5 × 26.5 cm
Presently Overwriting Pastisms is part of the Portal Suite, a series of 1-of-1 photographic prints that interrogate the rewriting of cultural narratives in a hyper-mediated world. This piece layers classical sculptures with vibrant graphic interventions, fragmented text, and abstract symbols, creating a dynamic visual language that critiques the instability of meaning in contemporary culture. The reflective Kodak® Metallic Paper enhances the sensory experience, evoking the seductive yet alienating qualities of digital screens.
The artwork collapses distinctions between high culture and mass communication, with its vibrant palette of yellows, blues, and magentas disrupting grayscale classical imagery. By incorporating visual elements associated with standardized digital interfaces and fragmented communication, the piece reflects on how historical permanence is overwritten by ephemeral media flows. This exploration resonates with Altermodernist principles of hybridity and multiplicity while inviting critical engagement with themes of cultural fragmentation and media saturation.
This one-of-a-kind photographic work is a striking addition to collections that value conceptual depth and material innovation. It is particularly suited for exhibitions exploring post-digital abstraction or cultural hybridity. For acquisition inquiries or exhibition opportunities, please contact the studio.
Lambda® Output on Kodak® Metallic Substrate
10 ½ × 10 ½ in / 26.5 × 26.5 cm
Presently Overwriting Pastisms is part of the Portal Suite, a series of 1-of-1 photographic prints that interrogate the rewriting of cultural narratives in a hyper-mediated world. This piece layers classical sculptures with vibrant graphic interventions, fragmented text, and abstract symbols, creating a dynamic visual language that critiques the instability of meaning in contemporary culture. The reflective Kodak® Metallic Paper enhances the sensory experience, evoking the seductive yet alienating qualities of digital screens.
The artwork collapses distinctions between high culture and mass communication, with its vibrant palette of yellows, blues, and magentas disrupting grayscale classical imagery. By incorporating visual elements associated with standardized digital interfaces and fragmented communication, the piece reflects on how historical permanence is overwritten by ephemeral media flows. This exploration resonates with Altermodernist principles of hybridity and multiplicity while inviting critical engagement with themes of cultural fragmentation and media saturation.
This one-of-a-kind photographic work is a striking addition to collections that value conceptual depth and material innovation. It is particularly suited for exhibitions exploring post-digital abstraction or cultural hybridity. For acquisition inquiries or exhibition opportunities, please contact the studio.
GILTED CONSUMERISMS, 2018
Gridlocked Histories series
Gesso, acrylic, on canvas
47 ¼ × 36 in / 120 × 91.5 cm
Gilted Consumerisms examines the intersection of high art, consumer culture, and abstraction through a playful yet critical lens. Centered within a meticulously rendered baroque-style painted frame, the composition juxtaposes disparate elements: a Vetements sock, a Matisse-inspired vase, and gestural abstract markings. These components disrupt traditional hierarchies of meaning, blending references to luxury fashion, art history, and contemporary abstraction.
The use of gesso and acrylic on canvas emphasizes materiality while evoking a sense of layered narratives. The baroque frame functions as both a literal and metaphorical boundary, drawing attention to the act of framing itself—what is included, excluded, or recontextualized in cultural discourse. The stark blue-and-white palette recalls porcelain patterns and classical motifs, further blurring distinctions between high art and consumer aesthetics. This work invites viewers to question how visual and cultural narratives are constructed, disrupted, and redefined in contemporary contexts.
This one-of-a-kind piece is a provocative addition to collections that value conceptual rigor and aesthetic innovation. It is particularly suited for exhibitions exploring themes of cultural hybridity, consumerism, or the deconstruction of artistic traditions.
For acquisition inquiries or exhibition opportunities, please contact the studio.
Gesso, acrylic, on canvas
47 ¼ × 36 in / 120 × 91.5 cm
Gilted Consumerisms examines the intersection of high art, consumer culture, and abstraction through a playful yet critical lens. Centered within a meticulously rendered baroque-style painted frame, the composition juxtaposes disparate elements: a Vetements sock, a Matisse-inspired vase, and gestural abstract markings. These components disrupt traditional hierarchies of meaning, blending references to luxury fashion, art history, and contemporary abstraction.
The use of gesso and acrylic on canvas emphasizes materiality while evoking a sense of layered narratives. The baroque frame functions as both a literal and metaphorical boundary, drawing attention to the act of framing itself—what is included, excluded, or recontextualized in cultural discourse. The stark blue-and-white palette recalls porcelain patterns and classical motifs, further blurring distinctions between high art and consumer aesthetics. This work invites viewers to question how visual and cultural narratives are constructed, disrupted, and redefined in contemporary contexts.
This one-of-a-kind piece is a provocative addition to collections that value conceptual rigor and aesthetic innovation. It is particularly suited for exhibitions exploring themes of cultural hybridity, consumerism, or the deconstruction of artistic traditions.
For acquisition inquiries or exhibition opportunities, please contact the studio.
GRIDLOCKED HISTORIES, 2018
Gridlocked Histories series
Acrylic, aerosol paint on canvas
31 ¼ × 31 in / 79.5 × 79 cm
Gridlocked Histories explores the tension between architectural permanence and the fragmented realities of contemporary abstraction. Utilizing acrylic, gesso, and aerosol paint on canvas, the composition juxtaposes bold geometric grids with fragmented architectural forms, creating a visual dialogue between structure and disruption. The grid—a recurring motif in modernist art—is rendered with precision but is punctured by an organic shape, zoomed in and cropped to suggest no discernible beginning or end. This disruption introduces a sense of fluidity and impermanence within the otherwise rigid framework.
The controlled use of aerosol paint, applied in a masked and textureless manner, evokes digital disruptions rather than traditional painterly gestures. This technique contrasts with the tactile qualities of gesso and acrylic, further emphasizing the interplay between analog and digital aesthetics. Vibrant blocks of cobalt blue and fiery orange punctuate the stark black-and-white palette, creating moments of rupture that destabilize the composition’s formal balance. The work invites viewers to reflect on how histories are preserved, reimagined, or lost within contemporary visual culture.
This one-of-a-kind artwork is a compelling addition to collections that value conceptual depth and aesthetic innovation. It is particularly suited for exhibitions exploring themes of architectural memory, abstraction, or the deconstruction of historical narratives.
For acquisition inquiries or exhibition opportunities, please contact the studio.
Acrylic, aerosol paint on canvas
31 ¼ × 31 in / 79.5 × 79 cm
Gridlocked Histories explores the tension between architectural permanence and the fragmented realities of contemporary abstraction. Utilizing acrylic, gesso, and aerosol paint on canvas, the composition juxtaposes bold geometric grids with fragmented architectural forms, creating a visual dialogue between structure and disruption. The grid—a recurring motif in modernist art—is rendered with precision but is punctured by an organic shape, zoomed in and cropped to suggest no discernible beginning or end. This disruption introduces a sense of fluidity and impermanence within the otherwise rigid framework.
The controlled use of aerosol paint, applied in a masked and textureless manner, evokes digital disruptions rather than traditional painterly gestures. This technique contrasts with the tactile qualities of gesso and acrylic, further emphasizing the interplay between analog and digital aesthetics. Vibrant blocks of cobalt blue and fiery orange punctuate the stark black-and-white palette, creating moments of rupture that destabilize the composition’s formal balance. The work invites viewers to reflect on how histories are preserved, reimagined, or lost within contemporary visual culture.
This one-of-a-kind artwork is a compelling addition to collections that value conceptual depth and aesthetic innovation. It is particularly suited for exhibitions exploring themes of architectural memory, abstraction, or the deconstruction of historical narratives.
For acquisition inquiries or exhibition opportunities, please contact the studio.
INTERFACE No. 1, 2019
Compression Scrolls series
Acrylic on canvas
46 ¼ × 35 in / 117.5 × 89 cm
In Interface No. 1, Anthony Vizard transforms the stark binary palette of black and white into a powerful meditation on perception and reduction. Rendered in acrylic paint, the work’s intricate line work oscillates between abstraction and recognition, presenting fragmented forms that evoke both human figures and objects. These lines, gestural yet precise, create a rhythm that mirrors the fleeting impressions of digital interfaces while inviting deeper contemplation of their impact on how we see and interpret the world.
The absence of color emphasizes the reductive nature of digital culture, where complexities are flattened into binary frameworks. The layered composition—overlaid screenshots in opposing orientations—further disrupts conventional readings of space and form. This interplay between structure and dissolution resonates as a continuation of Andy Warhol’s interrogation of mediated imagery, yet Vizard’s focus shifts to the digital realm, where meaning is constructed through fragmentation and reassembly.
The use of acrylic paint amplifies this exploration, its immediacy reflecting the transience of digital imagery. Meanwhile, the linear elements guide the viewer’s gaze across the composition, creating a dialogue between presence and absence, clarity and ambiguity.
Interface No. 1 is an invitation to engage critically with the aesthetics of reduction in contemporary visual culture. For curators and collectors seeking works that interrogate the intersection of technology and abstraction, this piece offers a sophisticated addition to any collection or exhibition.
Acrylic on canvas
46 ¼ × 35 in / 117.5 × 89 cm
In Interface No. 1, Anthony Vizard transforms the stark binary palette of black and white into a powerful meditation on perception and reduction. Rendered in acrylic paint, the work’s intricate line work oscillates between abstraction and recognition, presenting fragmented forms that evoke both human figures and objects. These lines, gestural yet precise, create a rhythm that mirrors the fleeting impressions of digital interfaces while inviting deeper contemplation of their impact on how we see and interpret the world.
The absence of color emphasizes the reductive nature of digital culture, where complexities are flattened into binary frameworks. The layered composition—overlaid screenshots in opposing orientations—further disrupts conventional readings of space and form. This interplay between structure and dissolution resonates as a continuation of Andy Warhol’s interrogation of mediated imagery, yet Vizard’s focus shifts to the digital realm, where meaning is constructed through fragmentation and reassembly.
The use of acrylic paint amplifies this exploration, its immediacy reflecting the transience of digital imagery. Meanwhile, the linear elements guide the viewer’s gaze across the composition, creating a dialogue between presence and absence, clarity and ambiguity.
Interface No. 1 is an invitation to engage critically with the aesthetics of reduction in contemporary visual culture. For curators and collectors seeking works that interrogate the intersection of technology and abstraction, this piece offers a sophisticated addition to any collection or exhibition.
ASSEMBLAGE No. 1, 2019
Assemblage Archive series
Acrylic on Mutoh® eco-solvent print
50 × 38 ¼ in / 127 × 98.5 cm
Anthony Vizard’s Assemblage No. 1 is a striking exploration of materiality, process, and the layered complexities of digital and physical worlds. Created with acrylic paint over a Mutoh® eco-solvent print—commonly used for commercial signage—the work transforms an industrial substrate into a platform for fine art. This deliberate choice of material, inspired by John Baldessari’s printed canvas works, underscores Vizard’s interest in collapsing distinctions between mediums and hierarchies of cultural production.
At the heart of the composition lies a digitally constructed collage, sourced from Vizard’s daily practice as a fashion designer. Found images, including fragments from a Comme des Garçons runway show and cropped portraits of Rei Kawakubo, are recontextualized within the work. These elements speak to the intersections of fashion, art, and digital culture while reflecting on how imagery is consumed and reassembled. The central collage is surrounded by bold, abstracted forms in vivid hues—greens, blues, oranges, and reds—that disrupt and energise the composition.
The process itself is intentionally nonlinear: digital screenshots are photographed from an iPad, enlarged for printing, and then overpainted with precise acrylic gestures transcribed directly from finger movements on the screen. This method bridges the tactile immediacy of painting with the mediated nature of digital creation. The absence of visible brushwork further emphasizes control and intentionality, creating a surface that feels both mechanical and human.
Through its layered construction and deliberate material choices, Assemblage No. 1 processes how time, place, and scale collapse in contemporary image-making. The work invites viewers to consider their own relationship to mediated imagery while offering a vibrant visual experience that is both conceptual and visceral.
Assemblage No. 1 offers a compelling opportunity for curators and collectors to engage with a work that redefines the boundaries of materiality and process, making it an invaluable addition to any discerning collection or exhibition.
Acrylic on Mutoh® eco-solvent print
50 × 38 ¼ in / 127 × 98.5 cm
Anthony Vizard’s Assemblage No. 1 is a striking exploration of materiality, process, and the layered complexities of digital and physical worlds. Created with acrylic paint over a Mutoh® eco-solvent print—commonly used for commercial signage—the work transforms an industrial substrate into a platform for fine art. This deliberate choice of material, inspired by John Baldessari’s printed canvas works, underscores Vizard’s interest in collapsing distinctions between mediums and hierarchies of cultural production.
At the heart of the composition lies a digitally constructed collage, sourced from Vizard’s daily practice as a fashion designer. Found images, including fragments from a Comme des Garçons runway show and cropped portraits of Rei Kawakubo, are recontextualized within the work. These elements speak to the intersections of fashion, art, and digital culture while reflecting on how imagery is consumed and reassembled. The central collage is surrounded by bold, abstracted forms in vivid hues—greens, blues, oranges, and reds—that disrupt and energise the composition.
The process itself is intentionally nonlinear: digital screenshots are photographed from an iPad, enlarged for printing, and then overpainted with precise acrylic gestures transcribed directly from finger movements on the screen. This method bridges the tactile immediacy of painting with the mediated nature of digital creation. The absence of visible brushwork further emphasizes control and intentionality, creating a surface that feels both mechanical and human.
Through its layered construction and deliberate material choices, Assemblage No. 1 processes how time, place, and scale collapse in contemporary image-making. The work invites viewers to consider their own relationship to mediated imagery while offering a vibrant visual experience that is both conceptual and visceral.
Assemblage No. 1 offers a compelling opportunity for curators and collectors to engage with a work that redefines the boundaries of materiality and process, making it an invaluable addition to any discerning collection or exhibition.
SCREEN MEMORY No.1, 2020
Cache Landscapes series
Acrylic & gesso on canvas
51 ½ 38 ¼ in / 131 × 98 cm
Anthony Vizard’s SCREEN MEMORY No. 1 marks the beginning of a series that reimagines the fleeting immediacy of digital sketches as bold, enduring statements on canvas. Originating from finger-drawn gestures created on a smartphone during daily commutes, the work transforms transient digital moments into deliberate and lasting visual compositions. This process—a conscious act of “re-seeing”—elevates the disposable nature of digital imagery into a layered language that interrogates how we consume, process, and remember in an era dominated by screens.
The composition is defined by its interplay of saturated colors and textured voids. Vivid yellows, pinks, and blues collide with deep black fields, evoking the artificial glow of digital screens while asserting their materiality through meticulously layered acrylic. Sharp geometric forms punctuate painterly textures, creating a tension between precision and imperfection that mirrors the fractured rhythm of contemporary life.
At its scale (51 ½ x 38 ⅝ inches), the painting serves as a transitional moment—a bridge between intimate digital origins and monumental future works. The dramatic leap from an iPhone screen to this canvas—over 100 times larger—underscores Vizard’s commitment to transforming ephemeral gestures into enduring physical forms.
The series title, Screen Memories, draws on psychoanalytic theory while reframing it for the digital age: these works function as both distortions and reflections of hyper-mediated reality. They invite viewers to consider what is lost or transformed in translation—between moments, mediums, and scales.
This piece is not only a painting but also a conceptual statement—a foundation for an evolving narrative that bridges the immediacy of digital culture with the permanence of painting. Its bold aesthetic presence and intellectual depth make it a compelling addition to any gallery or collection, offering a unique opportunity to engage with a series poised to redefine the dialogue between technology and tradition.
This refined description retains the conceptual depth while enhancing clarity and flow. The title Screen Memories remains fitting for its psychoanalytic resonance and connection to digital culture, making it an ideal framework for this series.
Acrylic & gesso on canvas
51 ½ 38 ¼ in / 131 × 98 cm
Anthony Vizard’s SCREEN MEMORY No. 1 marks the beginning of a series that reimagines the fleeting immediacy of digital sketches as bold, enduring statements on canvas. Originating from finger-drawn gestures created on a smartphone during daily commutes, the work transforms transient digital moments into deliberate and lasting visual compositions. This process—a conscious act of “re-seeing”—elevates the disposable nature of digital imagery into a layered language that interrogates how we consume, process, and remember in an era dominated by screens.
The composition is defined by its interplay of saturated colors and textured voids. Vivid yellows, pinks, and blues collide with deep black fields, evoking the artificial glow of digital screens while asserting their materiality through meticulously layered acrylic. Sharp geometric forms punctuate painterly textures, creating a tension between precision and imperfection that mirrors the fractured rhythm of contemporary life.
At its scale (51 ½ x 38 ⅝ inches), the painting serves as a transitional moment—a bridge between intimate digital origins and monumental future works. The dramatic leap from an iPhone screen to this canvas—over 100 times larger—underscores Vizard’s commitment to transforming ephemeral gestures into enduring physical forms.
The series title, Screen Memories, draws on psychoanalytic theory while reframing it for the digital age: these works function as both distortions and reflections of hyper-mediated reality. They invite viewers to consider what is lost or transformed in translation—between moments, mediums, and scales.
This piece is not only a painting but also a conceptual statement—a foundation for an evolving narrative that bridges the immediacy of digital culture with the permanence of painting. Its bold aesthetic presence and intellectual depth make it a compelling addition to any gallery or collection, offering a unique opportunity to engage with a series poised to redefine the dialogue between technology and tradition.
This refined description retains the conceptual depth while enhancing clarity and flow. The title Screen Memories remains fitting for its psychoanalytic resonance and connection to digital culture, making it an ideal framework for this series.
TEMPORAL INTERVENTIONS, 2020
Cultural Palimpsests series
Acrylic on Offset Printed Paper
16 ½ × 12 ¼ in / 42 × 32 cm
Anthony Vizard’s Temporal Interventions transforms a fleeting cultural artefact into a layered meditation on time, identity, and media saturation. By painting over found magazine images, Vizard reclaims and recontextualises mass-produced media, creating a dialogue between the ephemeral nature of consumer culture and the enduring presence of physical art.
The bold acrylic daubs—vivid applications of yellow, purple, and blue—interact with the underlying image, obscuring and revealing in equal measure. This interplay invites viewers to reflect on how meaning is constructed through juxtaposition and intervention.
Part of the ongoing series Cultural Palimpsests, this work continues Vizard’s exploration of the intersections between materiality, temporality, and cultural critique. The series examines how layers of paint and print converge to challenge notions of permanence, originality, and authorship in a hyper-mediated world.
For acquisition inquiries or exhibition opportunities related to Temporal Interventions or the broader Cultural Palimpsests series, please contact the studio directly.
Acrylic on Offset Printed Paper
16 ½ × 12 ¼ in / 42 × 32 cm
Anthony Vizard’s Temporal Interventions transforms a fleeting cultural artefact into a layered meditation on time, identity, and media saturation. By painting over found magazine images, Vizard reclaims and recontextualises mass-produced media, creating a dialogue between the ephemeral nature of consumer culture and the enduring presence of physical art.
The bold acrylic daubs—vivid applications of yellow, purple, and blue—interact with the underlying image, obscuring and revealing in equal measure. This interplay invites viewers to reflect on how meaning is constructed through juxtaposition and intervention.
Part of the ongoing series Cultural Palimpsests, this work continues Vizard’s exploration of the intersections between materiality, temporality, and cultural critique. The series examines how layers of paint and print converge to challenge notions of permanence, originality, and authorship in a hyper-mediated world.
For acquisition inquiries or exhibition opportunities related to Temporal Interventions or the broader Cultural Palimpsests series, please contact the studio directly.
CHRONOS MOMENT, 2020
Cultural Palimpsests series
Acrylic on Offset Printed Paper
16 ½ × 12 ¼ in / 42 × 32 cm
Anthony Vizard’s Chronos Moment transforms a Tom Ford timepiece advertisement into a striking meditation on time, motion, and cultural identity. Through dynamic brush marks and sweeping daubs of crimson, green, and yellow, Vizard disrupts the sleek, polished aesthetic of the original advertisement. The gestural energy of the paint evokes a sense of movement and urgency, as though capturing the fleeting passage of time itself.
The timepiece serves as both a literal and symbolic anchor for the work, introducing a meta-commentary on temporality—not only as a measured construct but also as an abstract cultural force shaping perception and meaning. The expressive brushwork contrasts with the controlled precision of the watch’s design, creating a tension between permanence and ephemerality, luxury and raw immediacy. Fashion is similarly interrogated here as both an industry that defines eras and a cultural phenomenon reflecting societal values.
Part of Cultural Palimpsests, an ongoing series that reclaims and recontextualises mass-produced media, Chronos Moment continues Vizard’s exploration of how layers of paint and print converge to challenge notions of originality, authorship, and materiality. This work invites viewers to reflect on their relationship with consumer culture and the ways in which time is experienced, commodified, and represented.
For acquisition inquiries or exhibition opportunities related to Chronos Moment or the broader Cultural Palimpsests series, please contact the studio directly.
Acrylic on Offset Printed Paper
16 ½ × 12 ¼ in / 42 × 32 cm
Anthony Vizard’s Chronos Moment transforms a Tom Ford timepiece advertisement into a striking meditation on time, motion, and cultural identity. Through dynamic brush marks and sweeping daubs of crimson, green, and yellow, Vizard disrupts the sleek, polished aesthetic of the original advertisement. The gestural energy of the paint evokes a sense of movement and urgency, as though capturing the fleeting passage of time itself.
The timepiece serves as both a literal and symbolic anchor for the work, introducing a meta-commentary on temporality—not only as a measured construct but also as an abstract cultural force shaping perception and meaning. The expressive brushwork contrasts with the controlled precision of the watch’s design, creating a tension between permanence and ephemerality, luxury and raw immediacy. Fashion is similarly interrogated here as both an industry that defines eras and a cultural phenomenon reflecting societal values.
Part of Cultural Palimpsests, an ongoing series that reclaims and recontextualises mass-produced media, Chronos Moment continues Vizard’s exploration of how layers of paint and print converge to challenge notions of originality, authorship, and materiality. This work invites viewers to reflect on their relationship with consumer culture and the ways in which time is experienced, commodified, and represented.
For acquisition inquiries or exhibition opportunities related to Chronos Moment or the broader Cultural Palimpsests series, please contact the studio directly.
TEMPORAL PATHWAYS, 2020
Temporal Gestures series
Acrylic on canvas
42 ½ × 37 in / 107 × 92 cm
Anthony Vizard’s Temporal Pathways bridges the divide between analogue and digital time, exploring the cultural and aesthetic implications of how we perceive and experience temporality. This work emerges as a pure painting, unmediated by overpainting or editing, capturing each gestural mark in a single, immediate take. The vibrant strokes—sweeping arcs, layered textures, and dynamic pathways—evoke a sense of movement through space and time, creating depth and rhythm that draw the viewer into its unfolding narrative.
Inspired by the slow, deliberate process of Willem de Kooning and the rapid, instinctual gestures of Cy Twombly, Vizard’s approach reflects a synthesis of these methods. Each mark is imbued with intention yet executed with spontaneity, embodying the tension between control and release. The painting becomes a record of its own making—a dialogue between action and reflection.
In Temporal Pathways, Vizard interrogates the contrast between digital and analogue time. Digital time is precise, immediate, and fleeting—capturing the “now”—while analogue time offers continuity, depth, and a sense of duration. This duality resonates in the layered composition, where vibrant colors and gestural marks create pathways that suggest both immediacy and permanence. The work invites viewers to reflect on how contemporary culture influences our relationship with time and imagery.
For acquisition inquiries or exhibition opportunities related to Temporal Pathways or the broader Temporal Gestures series, please contact the studio directly.
Acrylic on canvas
42 ½ × 37 in / 107 × 92 cm
Anthony Vizard’s Temporal Pathways bridges the divide between analogue and digital time, exploring the cultural and aesthetic implications of how we perceive and experience temporality. This work emerges as a pure painting, unmediated by overpainting or editing, capturing each gestural mark in a single, immediate take. The vibrant strokes—sweeping arcs, layered textures, and dynamic pathways—evoke a sense of movement through space and time, creating depth and rhythm that draw the viewer into its unfolding narrative.
Inspired by the slow, deliberate process of Willem de Kooning and the rapid, instinctual gestures of Cy Twombly, Vizard’s approach reflects a synthesis of these methods. Each mark is imbued with intention yet executed with spontaneity, embodying the tension between control and release. The painting becomes a record of its own making—a dialogue between action and reflection.
In Temporal Pathways, Vizard interrogates the contrast between digital and analogue time. Digital time is precise, immediate, and fleeting—capturing the “now”—while analogue time offers continuity, depth, and a sense of duration. This duality resonates in the layered composition, where vibrant colors and gestural marks create pathways that suggest both immediacy and permanence. The work invites viewers to reflect on how contemporary culture influences our relationship with time and imagery.
For acquisition inquiries or exhibition opportunities related to Temporal Pathways or the broader Temporal Gestures series, please contact the studio directly.
NEON SCAFFOLD, 2021
Constructs series
Acrylic on canvas
42 ¼ × 36 ½ in / 107 × 93 × 2.8 cm
A scaffold of color and form, Neon Scaffold builds an electrified rhythm, a structure both rigid and fluid, teetering between logic and impulse. Blocks of luminous pink, acid green, and deep ultramarine stack like the facades of Hong Kong’s high-rises—an architectural composition disrupted by drips, shifts, and fractures.
Where others might seek stable chromatic grids, this work rejects such steadiness, opting instead for the controlled chaos of a city at its peak density. The brushwork is deliberate but restless—edges bleed, colors push past their frames, and a single black drip cuts through the composition, a rupture in the neon order. The result is a meditation on structure, but not stability. A city in flux. A scaffold, not a monument.
For acquisition inquiries or exhibition opportunities, interested parties are encouraged to contact the studio directly. This piece would be a compelling addition to contemporary art collections, particularly those focused on urban themes, abstraction, or the interplay of color and form.
Acrylic on canvas
42 ¼ × 36 ½ in / 107 × 93 × 2.8 cm
A scaffold of color and form, Neon Scaffold builds an electrified rhythm, a structure both rigid and fluid, teetering between logic and impulse. Blocks of luminous pink, acid green, and deep ultramarine stack like the facades of Hong Kong’s high-rises—an architectural composition disrupted by drips, shifts, and fractures.
Where others might seek stable chromatic grids, this work rejects such steadiness, opting instead for the controlled chaos of a city at its peak density. The brushwork is deliberate but restless—edges bleed, colors push past their frames, and a single black drip cuts through the composition, a rupture in the neon order. The result is a meditation on structure, but not stability. A city in flux. A scaffold, not a monument.
For acquisition inquiries or exhibition opportunities, interested parties are encouraged to contact the studio directly. This piece would be a compelling addition to contemporary art collections, particularly those focused on urban themes, abstraction, or the interplay of color and form.
UNTITLED (After Oehlen I), 2021
Resonances series
Acrylic on canvas
42 × 36 ¼ in / 106.5 × 92.5 cm
In this work, Anthony Vizard engages in a meticulous investigation of Albert Oehlen's "Tramonto Spaventoso" series through the act of precise replication. Like a scientist isolating compounds or a linguist parsing grammar, the process of cropping and scaling becomes a method of deep analysis. Each brushstroke is approached with forensic attention, transforming the act of painting into an act of understanding.
This acrylic on canvas work maintains the exact tension and energy of Oehlen's original, but through its deliberate isolation and reconstruction, reveals new insights about the mechanics of his mark-making. The process becomes a form of embodied learning, where each gesture serves as both reproduction and revelation.
For acquisition inquiries or exhibition opportunities, please contact the studio directly. This work represents a rigorous examination of contemporary abstraction's inner workings, making it particularly relevant for collections interested in the analytical dimensions of artistic practice.
Acrylic on canvas
42 × 36 ¼ in / 106.5 × 92.5 cm
In this work, Anthony Vizard engages in a meticulous investigation of Albert Oehlen's "Tramonto Spaventoso" series through the act of precise replication. Like a scientist isolating compounds or a linguist parsing grammar, the process of cropping and scaling becomes a method of deep analysis. Each brushstroke is approached with forensic attention, transforming the act of painting into an act of understanding.
This acrylic on canvas work maintains the exact tension and energy of Oehlen's original, but through its deliberate isolation and reconstruction, reveals new insights about the mechanics of his mark-making. The process becomes a form of embodied learning, where each gesture serves as both reproduction and revelation.
For acquisition inquiries or exhibition opportunities, please contact the studio directly. This work represents a rigorous examination of contemporary abstraction's inner workings, making it particularly relevant for collections interested in the analytical dimensions of artistic practice.
Artistic Exploration
Anthony Vizard operates at the evolving threshold between painting and digital culture. His practice interrogates the tension between tactile mark-making and screen-based visuality, generating works that blur the boundaries of analogue and digital expression. Merging gestural abstraction with algorithmic processes, Vizard reflects on how contemporary images are made, mediated, and metabolized.
Artist's Perspective
Vizard’s methodology resonates with our era of layered reproduction and constant recontextualization. His work engages the friction between the instantaneity of digital tools and the durational quality of painting—foregrounding the shifts in perception and meaning in an age of accelerated visual consumption. Each piece invites a pause: a space to consider not only what we see, but how we see.
Inquiries
A full artist statement expands on the conceptual frameworks and processes shaping the work. For exhibition opportunities, or acquisition inquiries, please contact the studio directly.
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